what do you see

when you look outside your window?

can you manipulate the view of a person? why would you want to do so? what would engage a passerby in the interest of the space? should you have to use force?

what if you could create a space so interesting that force and obligation were never necessary? what use is intrigue and curiosity?

early stages

using the drawing to question the form.

an interesting process - where does it take you?

the three parts of the model are just that, three distinct parts. how could they become more integrated? weighing on the compositional value of one another?

the cuts of the chipboard give it a nice texture. the detail is sensual.

how does the light work with this one? the sensuality of dark versus light? the soft, smooth fabric and the rugged texture of the card?

this looks completely solid. whats going on in the background of the section cut?

the white beads - what is their purpose? why is there thought to texture there and yet it is on the same plane with the same relevance as the rest?

if the assignment was for a spatial composition, is this spatial? or is this a surface? when does a surface become spatial? experiential instead of superficial?

as the process has evolved, the drawings have become much more experiential. keep pushing it. also, you should push the media to be cleaner and articulate your ideas through that precision.

a few of them

composite drawings :

it does not really matter whether you do the drawing in landscape or portrait, compositionally, it should work in both.

you could work on a regular piece of drawing paper. you could buy a piece of a1 watercolor paper, draw all over it and trim it down afterwards. you could purchase a piece of foam board and spray mount various drawings. you could find a scrap of wood and paint a couple of layers of gesso [http://www.aisling.net/journaling/gesso.htm] over it, sand it down and draw/paint/play all over it. not finding a "canvas" in time will not be an excuse. YOU SHOULD take this seriously. YOU SHOULD NOT be afraid of a larger drawing. feel the fear and do it anyway. do not spend time worrying, just start and if you feel you have messed up, continue to layer.

the point of this change is to learn to work quickly and efficiently with different media. it allows for more exploration of the different tools at your disposal. think of the drawing board as a balance with weights attached to each image you place upon it. the composition needs to be in a state of equilibrium. if you have a huge spot of red in the bottom left hand corner, you might want to have some type of line/drawing in similar tones at the top to weigh down an opposition. some links for composition, works for photography as well as architectural imagery : http://www.drawinghowtodraw.com/drawing-lessons/art-design-principles/art-balance-composition.html or just because its funny [http://www.kenrockwell.com/tech/composition.htm]

these drawings should have some of the plan lines you were working with for the paths of movement. they should have reminiscent tones of the lights/colors/shadows you have seen. they should work together and correlate. do we all know how plans/sections/elevations work? that is a possible way of thinking about it. just in case : http://www.technologystudent.com/designpro/ortho1.htm

think about what you are trying to show with your drawing. experience, movement, and light in the urban landscape is a good place to start. hopefully, you have been managing your time wisely and you can use the drawings you have already done as explorations that give you a place to start. any questions?

looking forward to it.

the great forgetting.

another reading : http://lebbeuswoods.wordpress.com/2010/07/17/neil-spiller-the-great-forgetting/

"_an architecture that dovetails into its site at not just the anthropocentric scale but at ecological scales, microcosmic and cosmoscopic scales.

_an architecture that has the capacity to reboot torn ecologies with helpful architectonic scaffolds, which dismantle themselves when all is well again.

_an architecture that traps more carbon than its environmental footprint. An architecture that contributes to the health of its users and environment.

_an architecture that hasn’t forgotten history, or how we are all different.

_an architecture that rejoices in that difference.

_an architecture whose exquisite tailoring is imbued with nuances that resonate with familiar and non-familiar worlds.

_an architecture that knows where it is and why it is and what it has to offer, but doesn’t deny its difference and ours."

color and texture.

nice explorations here, the colors in this quick study are really interesting together. scale this up and add detail.

i see a bit more detail here, however you are back to drawing what you think you see instead of what you actually see. zoom in on the tone and texture and articulate each piece. each bend in the bark and crack in the stone.
keep going, the color additions give it so much more energy. the darkness against the bright, vibrant lights.

tonal gestures

you tell me what it is. id love to know. the drawing makes me curious about the physical texture of the space.

nice little study of the folds in a fabric here. could have been brilliant with more time devoted to it. hopefully, these studies will not keep stopping so abruptly.

why the helmet? are you saying something here or was the decision of the object an arbitrary one?

is the glass half full or completely empty?

again, i want to know more about this space. i am curious. what is it and what happened here? and do i even really want to know. looks great, more detail please.